Note: Like Execution of Justice, the dramatic action in this play is organized to flow differently from that of other plays this semester. For one thing, Hwang has built his play around himself and quotes from the New York Times and other media sources. And like Execution of Justice this approach to the construction of a play is unique and often challenging to readers. I think the approach is generally effective. It is also suited to be examined thru Ball’s method of analysis. However, I will keep the same set of questions in tact that were asked of Execution.
1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve?
Playwright David Henry Hwang has just won the Tony for best Play for his riveting work M.Butterfly. A couple years out of his victory, he receives word that the musical Miss Saigon is coming to New York from London, with the role of the Engineer being played by well known actor Jonathan Pryce. There's only one problem; he is playing an Asian character. They've even gone so far as to tape his eyes so as to look more oriental. Mr. Hwang then writes a letter to Actor's Equity, demanding they change the actor. With the bad publicity, Hwang's father helps to encourage him to write something new, which he does. However, he hasn't fund the right actor. Unfortunately, he does find an actor for the job. Although he likes him, many of his acquaintances are unsure if the actor, Marcus G. Dahlman, is "fit" for the role.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Yellow Face and how is it broken?
The intrusion of the play is when David introduces Marcus as "Marcus Gee", implying that he is of Asian descent. This throws his world into confusion. It forces him to reevaluate what it means to be Asian-American and whether those two worlds can be mutually inclusive.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: what is the heart of the play? How does the title figure in this?
The unique factor of the play is that David Henry Hwang decides to cast Marcus in the leading role. Marcus, who is not Asian-American, is portraying an Asian-American man. This delves into the title of the play, and what it means to actually have face.
4. State the dramatic question that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
Is it possible to be truly colorblind all the time? Is that necessarily right? What does it mean to "have face"? What makes you a part of a group?
5. Use Hwang’s “character” to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing each of the lawyers.
In my group project, my team and I discussed how Hwang's journey goes from illusion to disillusion to illusion over the course of the play, and this can be seen through his personal battles. The first he has is with society. After penning a letter to Actor's Equity over the casting of a white man for an Asian role, Hwang finds himself battling it out against Actor's Equity, the show's producer, and every paper in New York City. He then must battle his feelings about his new actor, Marcus. In casting him, David has made a mistake by picking a white actor for an Asian-American role. However, he does not tell him personally that he's fired, and, instead, he worsens the ordeal by referring to him as Marcus "Gee". After this episode, Hwang does a lot of soul searching. "Was it right to fire Marcus? Am I no better than Miss Saigon?" During this time, Hwang is also fighting with Marcus, who has now fully "accepted" his new, Asian ethnicity. Now, Hwang must deal with what it means to be Asian. Near the end of the play, David finds himself battling another form of society: the government. During this time, a government official and a writer both refer to him as Asian. Each time he corrects them by saying "Asian-American". Again, he is facing a crisis in identity. By the end, David reaches his final confrontation with Marcus. He gives Marcus the ultimatum of taking off his "mask". However, this means David must lose "face" in the process. By the end of the play, David comes to terms that he must begins to search for his own face. He must figure out what it means to be Asian-American, on his terms.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Yellow Face.
A major theatrical moment in the play is when David and Marcus are at the college discussion panel. As the scene moves on, the stakes get higher until the end. Another theatrical moment in the play is when David has his first confrontation with his ex, Leah.
1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve?
Playwright David Henry Hwang has just won the Tony for best Play for his riveting work M.Butterfly. A couple years out of his victory, he receives word that the musical Miss Saigon is coming to New York from London, with the role of the Engineer being played by well known actor Jonathan Pryce. There's only one problem; he is playing an Asian character. They've even gone so far as to tape his eyes so as to look more oriental. Mr. Hwang then writes a letter to Actor's Equity, demanding they change the actor. With the bad publicity, Hwang's father helps to encourage him to write something new, which he does. However, he hasn't fund the right actor. Unfortunately, he does find an actor for the job. Although he likes him, many of his acquaintances are unsure if the actor, Marcus G. Dahlman, is "fit" for the role.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Yellow Face and how is it broken?
The intrusion of the play is when David introduces Marcus as "Marcus Gee", implying that he is of Asian descent. This throws his world into confusion. It forces him to reevaluate what it means to be Asian-American and whether those two worlds can be mutually inclusive.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: what is the heart of the play? How does the title figure in this?
The unique factor of the play is that David Henry Hwang decides to cast Marcus in the leading role. Marcus, who is not Asian-American, is portraying an Asian-American man. This delves into the title of the play, and what it means to actually have face.
4. State the dramatic question that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
Is it possible to be truly colorblind all the time? Is that necessarily right? What does it mean to "have face"? What makes you a part of a group?
5. Use Hwang’s “character” to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing each of the lawyers.
In my group project, my team and I discussed how Hwang's journey goes from illusion to disillusion to illusion over the course of the play, and this can be seen through his personal battles. The first he has is with society. After penning a letter to Actor's Equity over the casting of a white man for an Asian role, Hwang finds himself battling it out against Actor's Equity, the show's producer, and every paper in New York City. He then must battle his feelings about his new actor, Marcus. In casting him, David has made a mistake by picking a white actor for an Asian-American role. However, he does not tell him personally that he's fired, and, instead, he worsens the ordeal by referring to him as Marcus "Gee". After this episode, Hwang does a lot of soul searching. "Was it right to fire Marcus? Am I no better than Miss Saigon?" During this time, Hwang is also fighting with Marcus, who has now fully "accepted" his new, Asian ethnicity. Now, Hwang must deal with what it means to be Asian. Near the end of the play, David finds himself battling another form of society: the government. During this time, a government official and a writer both refer to him as Asian. Each time he corrects them by saying "Asian-American". Again, he is facing a crisis in identity. By the end, David reaches his final confrontation with Marcus. He gives Marcus the ultimatum of taking off his "mask". However, this means David must lose "face" in the process. By the end of the play, David comes to terms that he must begins to search for his own face. He must figure out what it means to be Asian-American, on his terms.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Yellow Face.
A major theatrical moment in the play is when David and Marcus are at the college discussion panel. As the scene moves on, the stakes get higher until the end. Another theatrical moment in the play is when David has his first confrontation with his ex, Leah.